Organ Registration: The Organist’s Palette—An Orchestra at Your Fingertips By Dr. Bradley Hunter Welch I. Basic Review of Organ Tone (see www.organstops.org for reference) A. Two types of tone—flue & reed 1. Flue a. Principals (“Principal, Diapason, Montre, Octave, Super Octave, Fifteenth”) & Mixtures b. Flutes (any name containing “flute” or “flöte” or “flauto” as well as “Bourdon, Gedeckt, Nachthorn, Quintaton”) c. Strings (“Viole de Gambe, Viole Celeste, Voix Celeste, Violone, Gamba”) 2. Reed (“Trompette, Hautbois [Oboe], Clarion, Fagotto [Basson], Bombarde, Posaune [Trombone], English Horn, Krummhorn, Clarinet”, etc.) a. Conical reeds i. “Chorus” reeds—Trompette, Bombarde, Clarion, Hautbois ii. Orchestral, “imitative” reeds—English Horn, French Horn b. Cylindrical reeds (very prominent even-numbered overtones) i. Baroque, “color” reeds— Cromorne, Dulzian, some ex. of Schalmei (can also be conical) ii. Orchestral, “imitative” reeds—Clarinet (or Cor di Bassetto or Basset Horn) Listen to pipes in the bottom range and try to hear harmonic development. Begin by hearing the prominent 2nd overtone of the Cromorne 8' (overtone at 2 2/3' pitch); then hear 4th overtone (at 1 3/5'). B. Pitch name on stop indicates “speaking” length of the pipe played by low C on that rank II. Scaling A. Differences in scale among families of organ tone 1. Flutes are broadest scale (similar to “oo” or “oh” vowel) 2. Principals are in the middle—narrower than flutes (similar to “ah” vowel) 3. Strings are narrowest scale (similar to “ee” vowel) B. Differences in scale according to era of organ construction 1. In general, organs built in early 20th century (1920s-1940s): principals and flutes are broad in scale (darker, fuller sound), and strings tend to be very thin, keen. (Higher wind pressures as well!) 2. In general, organs built in mid-20th century (1950s-1970s): principals and flutes are narrow in scale (brighter, thinner sound), and strings tend to be just slightly narrower scale than principals. (Lower wind pressures as well!) III. Mutations (e.g., 2 2/3’, 1 3/5’, 1 1/3’, 1 1/7’, 8/9’, 10 2/3’, 5 1/3’, 3 1/5', etc.) A. Principal-scale—Quinte (or Twelfth) 2 2/3’, Terz (or Seventeenth) 1 3/5’ Best used with the principal chorus to add “tang” (w/ or w/out mixtures) These principal-scale mutations are often found in the Great division, but sometimes the mutations on a subsidiary division (Swell or Positive/Choir) are principal scale B. Flute-scale—Nazard 2 2/3’, Tierce 1 3/5’, Larigot 1 1/3’, Septieme 1 1/7’, None 8/9’ Best used with other flutes to create different colors (because scale of flute family will be similar) Often not effective with principals (scale of flute mutations is too broad) Can be effective with reeds in French Grand jeu to reinforce harmonics Test mutations by playing notes low in range to discern whether they are flute- or principal-scale. IV. Mixtures (principal-scale) A. Composition: most are made up of unisons and quints (5ths); some include 3rds, 7ths, 9ths (rare) B. Pitch-level indication (length of the bottom note of the lowest rank of pipes) C. Use judiciously—non-organists often find too much mixture tone to be annoying D. Beware very high-pitched mixtures; consider them more for special effects than for chorus use. E. Breaking back: rising through the compass of the stop, the bottom pitch “resets” to a lower pitch— usually to the unison or quint below the previous lowest pitch F. Since most mixtures already contain the 2’ pitch in the mid-range of the manual compass, consider whether the 2’ contributes to the chorus or exacerbates tuning problems. G. When coupling manuals in ff passages, consider using one or two powerful mixtures rather than all (some softer mixtures may not be contributing)—tiny pipes of mixtures can fight with one another in tuning V. Doubling 8’ stops A. For some music where more richness of tone is desired, piling up 8’ tone (principals, flutes, and maybe strings [w/out celestes unless truly desired] as well) can be effective B. On especially thin-sounding instruments (esp. ones built in mid-20th century), piling up 8’ tone can help greatly. C. However, beware on instruments with insufficient wind supply as using flutes (which use a lot of wind) with principals can cause wind to shake and/or sag; in these cases, find a compromise where you use enough tone for the sound you desire while ensuring sufficient wind (i.e., not too “shaky”) D. Doubling at 4’ pitch level (principals and flutes) may or may not be effective—listen to sound E. Doubling 2’ principals and flutes causes tuning problems and thickness too high in range of sound—using only 2’ principal is usually best VI. Coupling A. Listen to discern if divisions are in tune with one another; if not, often a little less sound is better than a big, out-of-tune sound B. For very fast-moving passages (Liszt, Bach), consider playing on an uncoupled manual (full unenclosed Great if it is full enough)—this often gives better clarity since all pipes are speaking together and from the same area of the instrument C. If uncoupling is not practical in middle of busy passage, simply close boxes—unenclosed division will be heard clearly; open boxes again when motion slows, chordal passages, etc. D. Super-couplers are often most useful when: 1. combining masses of strings & celestes [w/ or w/out flutes] (8’ tone); 2. adding power or brilliance when playing low in the range of the manuals; 3. adding power or brilliance on a small—medium-sized early 20th century organ without much upperwork or brilliance 4. adding power and definition during a climactic solo Pedal line E. Sub-couplers are often most useful when: 1. playing high in range of manuals 2. desiring French Octaves graves effect at climaxes 3. “cheating” on Messiaen’s Transports de joie (by playing only the right hand part divided between both hands) 4. adding gravity to an instrument without sufficient 16’ manual tone 5. adding 32’ tone on manual (16’ stop coupled through 16’ coupler=32’ tone) (best when playing climaxes in mid- to high-range of manuals) F. Beware of “abusing” sub- or super-couplers: subs can rob wind or be too heavy & “growly”; supers can cause “screaminess” when used with upperwork VII. Flute constructions A. Stopped (“Bourdon, Gedeckt, Koppelflöte, Quintadena”) 1. hollow sound; even-numbered overtones (2 2/3’, 1 3/5’ pitches, etc.) are very prominent; odd- numbered overtones (4’, 2’ pitches) are eliminated from harmonic development; Listen to pipes in the bottom range and try to hear harmonic development. Begin by hearing the prominent 2nd overtone of the Quintadena 8' (overtone at 2 2/3' pitch). 2. pipe is half-length (i.e., low C of a Gedeckt 8’ is only 4’ in actual length); stopper effectively doubles “speaking length” of the pipe 3. chimney flutes ("Rohrflötes") have a characteristic sound produced by the open "chimney" on the cap/stopper of the pipe 4. listen for chiff—characteristic “coughing” attack of un-nicked mouths—good for special effect; avoid if not desired in solos or ensembles B. Open (“Open Flute, Flute Ouverte, Spitzflöte, Nachthorn”) 1. somewhat fuller sound with more brilliance 2. better pitch definition in low range than stopped flutes 3. all overtones are present C. Harmonic (“Flûte Harmonique, Flûte Traversière, Flûte Octaviante”) 1. most realistic flute tone: most like the orchestral flute—very brilliant 2. low range of the stop (bottom 1 or 1½ octaves) is usually composed of open pipes [not harmonic] 3. clear pitch definition 4. harmonic pipes are open (unstopped) double-length with a hole punched half-way up the resonator (i.e., middle C pipe of a Harmonic Flute 8’ rank is 4’ [rather than 2’ as with an open flute]) 5. harmonic flutes can cause an unwanted thickening/blurring of the ensemble if used with a principal chorus; however, they can also be useful in thickening/enriching a very thin chorus 6. on Harmonic Flute 8’, the bottom two octaves or so are often open pipes but not harmonic; the harmonic pipes generally begin around middle (“2’”) C (which would actually be 4’ in length if harmonic) or the F above middle C Listen for distinctions between different flute constructions; try identifying them by ear as others perform. D. These different constructions are likely available throughout the instrument at different pitch levels (some at 8’, others are 4’, 2’, 16’, or even 1’, 2 2/3’, or 1 3/5’); Choose the color you like best for a particular passage by playing the 4’ 8vb; play the 2’ 16vb; play the 16’ 8va; play the 1’ 24vb; or use sub/super-couplers with Unison Off to bring the passage into the range where you would like to play it. VIII. Optimal ranges for various families of tone A. Flutes—tend to be strongest in high range of manual, weak in low range B. Strings—tend to be strong in low range C. Reeds—tend to be strongest in middle range D. Principals—voiced to be strong throughout all ranges IX. Unity/combinations of tone A. Sometimes using only stops of one family of sound creates an effective unity of color 1. Strings & celestes alone (w/ super-couplers?) w/out flutes 2. Reed chorus alone (16’-8’-4’?) 3. Flutes alone (8’-4’-2’; 8’-2’; 8’-4’-1 1/3’; etc.) 4. Principals alone (no flutes)—for plenum (if principals are full enough…) B. Sometimes various combinations of tone are most effective 1.